125 th ANNIVERSARY SENIOR SUMMER CONCERT

Transcription

1 MUSIC DEPARTMENT ST CATHERINE S, BRAMLEY 125 th ANNIVERSARY SENIOR SUMMER CONCERT St John s Smith Square Friday 6 th May 2011at 7.30pm

2 BRASS ENSEMBLE Toccata Bach arr. Thorne The Toccata and Fugue in D minor, BWV 565, is a piece of organ music composed by Johann Sebastian Bach sometime between 1703 and The attribution of the piece to Bach has been challenged since the early 1980s by a number of scholars, and remains a controversial topic. It is one of the most famous works in the organ repertoire, and has been used in a variety of popular media ranging from film to video games, rock music, and even ringtones. The arrangement that we are playing tonight has been commissioned for this evening s concert. We hope you enjoy our performance of Bach with a difference! SENIOR CHOIR Mangwani M pulele The Lord s Prayer Sotho trad. arr. Brewer Malotte Mangwane M pulele is a traditional song in the Sotho language. Roughly translated, the lyrics mean "Aunt, open the door for me, I am getting wet with rain. Whether it is here, whether it is there, I am getting wet with rain." Mangwane in Sotho culture is a mother's younger sister. Like all African songs, this one has a rhythmic energy that propels the music and stirs the spirit. The Lord's Prayer is a musical setting of the Lord's Prayer written by Albert Hay Malotte in Malotte was an American pianist, organist, composer and educator. His career as an organist began in Chicago where he played for silent pictures, and he spent most of his career as a composer in Hollywood, particularly for the Disney studios. This well-known version of The Lord's Prayer has been recorded by numerous singers including Perry Como, Gracie Fields, Mario Lanza, Elvis Presley, Aretha Franklin, Barbra Streisland and The Beach Boys (as the B-side of their single Little Saint Nick!). The song's melody is very similar to that of Schubert's Ave Maria.

3 FLUTE CHOIR Allegro from Symphony no. 5 in Bb D.485 Schubert arr. Scott Franz Schubert completed his first five symphonies before the age of 20. Symphony no. 5 in Bb was written when the composer was just 19 years old. It was intended as a homage to Mozart, a composer whom the young Schubert revered. The swift-moving first movement has great lyricism and is certainly infused with Mozart s lightness and grace, yet the melodic flow and invention are utterly Schubertian in character. The first subject grows effortlessly out of a dotted triadic figure, prefaced by a four bar introduction. This idea is extended into attractive melodic sequences and octave imitations, but there are also some tightly-knit rhythmic passages with strong sforzati before the charming second subject appears. A taut development section leads to a full recapitulation, with some extremely exciting quaver passagework before the movement reaches its triumphant and dramatic close. Scott s clever arrangement for Flute Choir uses every instrument from piccolo to the mellow bass of the family. All parts share the melodic material with goodhumoured democracy, and are kept active and fully challenged throughout. SENIOR CHAMBER CHOIR Beatus Vir Monteverdi arr. Field The work of Claudio Monteverdi ( ), often regarded as revolutionary, marked the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition: the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque. Enjoying fame in his lifetime, he wrote one of the earliest operas, L'Orfeo, which is still regularly performed. Beatus Vir was published in the composer s 1641 collection Selva Morale e Spirituali. The motet, a setting of Psalm 112, is a superb example of Monteverdi s dramatic style. It contrasts pairs or small groups of voices with the weight of the full chorus, a technique known as stile concertato - one of the most characteristic features of Baroque music.

4 CAMERATA Clarinet Mary Tyler Concerto for Clarinet & String Orchestra with Harp & Piano Copland Aaron Copland began work on his Concerto for Clarinet and String Orchestra while travelling in Latin America in After setting it aside when he was unable to come up with a suitable theme for the second movement, Copland completed the work during his annual sojourn at Tanglewood in the following year. The concerto, commissioned by the prominent clarinettist Benny Goodman, was premiered by Goodman and the NBC Symphony Orchestra in a broadcast on November 6 th Though the initial critical reception of the work was less favourable than that which greeted a number of Copland's other works, the concerto gradually caught on with performers and audiences alike. Copland drew inspiration for the Concerto from a number of sources. The work took shape under the influence of the Brazilian folk music Copland heard during his travels, while the second movement in particular was tailored to fit Goodman's own playing style and skills. (Copland's manuscript drafts, in fact, indicate a number of alterations made expressly to accommodate Goodman's technique.) The work is divided into two movements, the first marked "Slowly and expressively," the second, "Rather fast"; the two are connected by an extended cadenza for the soloist. The first movement is meditative and rhapsodic, combining dramatic leaps in the solo clarinet line with an unhurried, waltz-like accompaniment in the strings and harp. A more restive and harmonically adventurous section interrupts the lilt of the triple metre, and the movement is concluded by a return to its original mood. The cadenza between the movements acts as a transition, extending the mood of the first movement and introducing the lively melodic and rhythmic material of the second. The piano, which sits silent during the first movement, is freely employed in the second, assuming both soloistic and less obtrusive textural roles. After a mysterious introduction, the clarinet introduces the melodic material of the movement, which is altered and recombined in a variety of jazzy contexts as the movement unfolds in a rondo-like form. The clarinet often declaims its line over an ostinato accompaniment, and at one point Copland heightens the jazzy atmosphere by directing the basses to play in a "slap-string" style. A concluding virtuosic coda has the clarinettist wailing in the upper ranges of the instrument before bringing the work to a close with a long glissando accompanied by the ensemble.

5 INTERVAL SYMPHONY ORCHESTRA Symphony no. 5: Finale Allegro Beethoven This jubilant and exhilarating movement concludes Beethoven s 5 th Symphony, arguably the most well-known of all symphonies in triumphant style. Beethoven uses the bright, up-lifting key of C major to introduce the powerful opening theme. The tight rhythms have an almost military feel, and the scale passages contribute a sense of elevation and exuberance. There is a contrasting section in 3/4 time, which reworks the fate motif from the opening movement in a dancelike, almost macabre way before we are whisked into the final throes of invigorating C major. Here no fewer than 29 bars of repeated C major chords conclude the work with typical Beethovenian determination. HANNAH WINDER - Piano Prelude in D op.23 no.4 Rachmaninov This is perhaps one of the less virtuosic of Rachmaninov s preludes for piano, yet it is certainly one of most beautiful. It was written in 1903, as a part of the Ten Preludes Op. 23. The piece begins with a lyrical melody, which then is interwoven with a melismatic triplet figuration. In the middle section the piece slowly builds to an immense and powerful crescendo, which then slowly fades away into a quiet tranquillity where the main theme is restated. The Prelude covers a whole range of human emotions from melancholic yearning to fierce passion.

6 CANTORES I Don t Mind Being All Alone Just A Girl That Men Forget Ma, He s Makin Eyes At Me Gaskill/McHugh/Mills arr. Wright Dubin/Rath/Garren arr. Craig Clare/Conrad arr. Stephens Barbershop vocal harmony is a style of a cappella vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: generally, the lead (here Soprano 2) sings the melody, the tenor (Soprano 1) harmonizes above the melody, the bass (Alto 2) sings the lowest harmonizing notes, and the baritone (Alto 1) completes the chord, usually below the lead. The melody is not usually sung by the tenor or bass, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created. Traditionally, the word "barbershop" has been used to encompass both men's and women's quartets singing in the barbershop style. The first uses of the term were associated with many well-known African American gospel quartets who were founded in neighbourhood barber shops. JAZZ ENSEMBLE In The Mood Livin La Vida Loca Garland/Razaf arr. Miller Rosa/Child arr. Lopez In The Mood is a song popularized by the American bandleader Glenn Miller in 1939, and one of the best-known arrangements of the Big Band era. Miller's rendition topped the charts one year later and was featured in the 1941 movie Sun Valley Serenade. Livin La Vida Loca was originally a No. 1 hit for Ricky Martin in 1999; since then Eddie Murphy has re-recorded this stylish tune for the movie Shrek 2. Its driving beat and Latin style have made it an anthem of the younger generation, and now this giant hit comes to you in this hot Victor Lopez arrangement!

7 CONCERT BAND Hootenanny, Folk Festival for Band Walters Hootenanny is an Appalachian colloquialism that was used in early twentieth century America to refer to things whose names were forgotten or unknown. In this usage it was synonymous with thingamajig or whatchamacallit, as in "hand me that hootenanny." Hootenanny was also an old country word for party. Now, most commonly, it refers to a folk-music party. In this Hootenanny Harold Walters has included various typical melodies frequently heard at many American folk festivals. We start with the rhythmic slow blues tunes Frankie and Johnny, Lonesome Road and John Henry, then a quick change of tempo takes us into the up tempo tunes Chicken Reel, Michael Row the Boat Ashore and The Arkansas Traveller. As a grand finale to the piece, we end with the popular tunes I m on my Way and Down by the Riverside, bringing Hootenanny to its exuberant end. Please sing along if you know the words! Brass Ensemble Sarah Sharpin Flute Choir Charlotte Allan Caroline Steel Holly Calder Natasha Allan Abigail Vega Hannah Davidson Lucy Courage Eva Wichtowski Emily Hart Phoebe Garthwaite Hannah Winder Ji-Young Park Katherine McDermott Emily McDermott Megan O Hanlon Camerata Laura McGugan Annabel Plews Jane Chan Emily Standen Katie Ratcliffe Annabelle Dance Lucy Walker Grace Richardson Madeleine Edwards Phoebe Solan Jessica Ko Jazz Ensemble Katie Walker Nadia McLurcan Ibiyinka Akinnola Charlotte Warner Grace Miller Charlotte Allan Joanna Phillips Naomi Bradshaw Cantores Hannah Pilkington Jane Chan Caragh Bennet Lucy Rees Annabel Dersy Lucy Courage Georgina Rolls Georgia Figgis Annabelle Dance Natalie Sharpin Eleanor Hurley Georgia Figgis Sarah Sharpin Katherine McDermott Araminta Hamer Karen Shek Jessica McGugan Janey Hurran Katherine Smith Nadia McLurcan Abigail Legge Laila Sticpewich Megan O Hanlon Aisha Pegley Abigail Vega Annabel Plews Ellen Pilkington Megan von Spreckelsen Lucy Rees Hannah Pilkington Rosie von Spreckelsen Laila Sticpewich Amy Price Emma-Louise Zylstra Mary Tyler Abigail Vega

8 Concert Band Senior Choir Mary Tyler Charlotte Allan Alice Anning Abigail Vega Cecily Bayliss Caragh Bennet Megan von Spreckelsen Amelia Bennet Jessica Benson Eva Wichtowski Emma Bennett-Morris Imogen Blake Hannah Winder Clare Bergin Lucy Cave Alison Wong Louisa Bradshaw Alison Chan Isabel Woolrych Isabelle Capps Jane Chan Zoella Zaborski Charlotte Chow Emma Charatan Emma-Louise Zylstra Lucy Courage Eleanor Courage Sarah Cran Lucy Courage Senior Chamber Choir Annabel Dersy Olivia Cox Alice Anning Harley Evans Verity Crawford Caragh Bennet Georgia Figgis Laura Daboo Imogen Blake Ursula Goldsmith Annabelle Dance Lucy Cave Elle Han Helena Farrell Emma Charatan Jennifer Harrap Georgia Figgis Eleanor Courage Isobel Hatrick Pippa Flood Lucy Courage Katie Hill Alice Frostick Olivia Cox Rebecca Holland Philippa Goff Verity Crawford Rachel Hurst Phoebe Greenway Laura Daboo Naomi Joshua Jennifer Harrap Annabelle Dance Abigail Legge Lauren Harrison Helena Farrell Charlotte McCallum Sally Hayward Georgia Figgis Katherine McDermott Victoria Hirst Pippa Flood Ailsa McGugan Florence Ho Philippa Goff Jessica McGugan Kanae Horie Araminta Hamer Laura McGugan Sophie Hughes Jennifer Harrap Nadia McLurcan Rachel Hurst Janey Hurran Charlotte McNair Xanthe Jackson Rachel Hurst Megan O'Hanlon Annemarie Ko Abi Legge Helen Paterson Xylona Lam Anna Lucas-Clements Ellen Pilkington Anna Lucas-Clements Molly MacConnol Sybilla Platt Molly MacConnol Emily Martin Annie Plews Emily Martin Sophie Oakes Lucy Rees Grace Miller Aisha Pegley Martha Rockhill Natalie Nguyen Ellen Pilkington Hannah Rottenburg Sophie Oakes Hannah Pilkington Jasmin Sharpe Laura Oliver Georgina Preston Karen Shek Millie Parrott Amy Price Laila Sticpewich Ellen Pilkington Alice Reeves Mary Tyler Hannah Pilkington Georgina Rolls Abigail Vega Maria Pluzhnikova Sarah Sharpin Katherine Vega Georgina Preston Karen Shek Laura Wakefield Amy Price Caroline Steel Katie Walker Alice Reeves Mary Tyler Lucy Walker Isabel Robson Abigail Vega Sophie Wilkinson Georgina Rolls Megan von Spreckelsen Francesca Wyllie Sarah Sharpin Eva Wichtowski Karen Shek Hannah Winder Katherine Smith Emma-Louise Zylstra Lamide Sobamowo Caroline Steel

9 Symphony Orchestra Sabrina Goodchild Lucy Rees Natasha Allan Phoebe Greenway Alice Reeves Francesca Banfield Emily Hart Georgina Rolls Caragh Bennet Rachel Hurst Sophie Rolls Jessica Benson Gemma Kearns Vicky Schenk Clare Bergin Hannah Klair Jasmin Sharpe Holly Calder Jessica Ko Sarah Sharpin Alison Chan Hayley Lucas Karen Shek Natalie Chopra Hattie Lucas-Clements Katherine Smith Sophie Chopra Ailsa McGugan Laila Sticpewich Imogen Coates Nadia McLurcan Mary Tyler Kirsty Coates Grace Miller Abigail Vega Lucy Courage Ji-Young Park Katherine Vega Philippa Courage Joanna Phillips Grace Waterman Annabelle Dance Ellen Pilkington Hannah Winder Annabel Dersy Hannah Pilkington Emily Wyllie Madeleine Edwards Georgina Preston Annabel Yip Ursula Goldsmith Emma-Louise Zylstra FORTHCOMING CONCERTS/EVENTS INFORMAL CONCERT Tuesday 17 th May 7.30pm Recital Room JAZZ & ROCK CONCERT Friday 27 th May 7.30pm Dining Hall MIDDLE SCHOOL SUMMER CONCERT Friday 24 th June 7.30pm Holy Trinity Church Guildford SCHOLARS & AWARD HOLDERS CONCERTS Saturday 9 th July SENIOR CHAMBER CHOIR & CAMERATA TOUR TO ITALY 15 th 19 th July

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